Bearing the certificate of the Lyric Muse, Mr. Leslie Pinckney Hill, schoolmaster of Cheney, Pennsylvania, and authentic singer, is the newest arrival on the slopes of Parnassus. A first glance tells that he is an agile climber, sinewy, easy of movement, light of step, with both grace and strength. Every indication in form and motion is for some point far up toward the summit. Youthful is he, ambitious plainly, and, in spite of a burden, buoyant. "Climber," I said. I will drop the figure. Poets were never pedestrians. Mr. Hill comes not afoot. If not on the wings of Pegasus, yet on wings he comes--_the wings of oppression_. Sad wings! Yet it must be remarked that it is commonly on such wings that poets of whatever race and time rise. And Mr. Hill's race knows no other wings. On the wings of oppression the Negro poet and the Negro people are rising toward the summits of Parnassus, Pisgah, and other peaks. This they know, too, and of it they are justly proud. In his _Foreword_ Mr. Hill thus states the case of his people, and, by implication, of himself: "Nothing in the life of the nation has seemed to me more significant than that dark civilization which the colored man has built up in the midst of a white society organized against it. The Negro has been driven under all the burdens of oppression, both material and spiritual, to the brink of desperation, but he has always been saved by his philosophy of life. He has advanced against all opposition by a certain elevation of his spirit. He has been made strong in tribulation. He has constrained oppression to give him wings." The significant thing about these wings, in a critical view, is that they fulfill the proper function of wings--bear aloft and sustain in flight through the azure depths. Mr. Hill's wings do bear aloft and sustain: if not always, nor even ever, into the very empyrean of poetry, yet invariably, seventy times, into the ampler air. Like all his race, he has suffered much; and, like all his race still, he has gathered wisdom from sorrow. As a true poet should have, he has philosophy, also vision and imagination--vision for himself and his people, imagination that sees facts in terms of beauty and presents truths with vital imagery. Add thereto craftsmanship acquired in the best traditions of English poetry and you have Hill the poet. The merits of this book cannot be shown by the quoting of lines and stanzas. As ever with true art, the merit lies in the effect of complete poems. Still, we can here detach from this and that poem a stanza or two, despite the wrong to art. The first and fourth stanzas of the title-poem will indicate Mr. Hill's technique and philosophy: